IntroductionKrell
has updated their home theater line, along with the rest of the KAV
series, resulting in new products such as the Theater Amplifier
Standard. The new Krell Theater Amplifier Standard ($7,500) is the only
five channel amplifier in the line, designed to be used in conjunction
with the newly released Home Theater Standard 7.1 AV preamp.

The Theater Amplifier Standard is the largest multi-channel amplifier I
have ever had in my system, measuring 17.25 inches wide, 9.75 inches
high and 17.25 inches deep. This hefty amplifier weighs in at a solid
100 pounds. The Theater Amplifier Standard, like the rest of the new
KAV series, features an attractive new and modern exterior design. The
Theater Amplifier Standard is made out of a heavy gauge, brushed
aluminum including the polished and rounded corners. The top panel is
heavily perforated, with slots that allow heat to escape from within
the amplifier.

The front panel features the Krell logo engraved in the center above
the power button. When the power button is switched from standby to
active, the traditional blue Krell light emanates from behind and
surrounds the button. The rear panel features a heavy fixed power cord,
five balanced and five single-ended inputs, a multi-channel DB-25
input, five-way binding posts for each for each of the five channels,
fuses, a master power switch and a 12-volt trigger input and output.

The Theater Amplifier Standard utilizes Krell Current Mode technology.
In utilizing the Current Mode technology, the audio gain stages are
performed in the current, rather than in the voltage domain. The
purpose of this is to increase speed and detail. When normally
configured, the Theater Amplifier Standard produces 200 watts per each
of its five channels. The amplifier is bridgeable, allowing for two
800-watt channels plus you still can use the center channel at 200
watts. Another fairly unique feature is Krell’s Multi Amp Throughput.
This allows the user to connect one channel to the amplifier’s balanced
or single-ended input and have that signal distributed to all five
channels. This feature would be helpful for some whole-house audio
applications, especially those installing high performance in-wall
loudspeakers.

Setup
Physical help is strongly recommended in setting up this amplifier, as
it is extremely heavy. I found that the height of the amplifier
prevented it from fitting in my normal equipment rack spot. This
amplifier runs warm and demands ample breathing room, so do not squeeze
it into a rack opening barely bigger that the unit itself.

The Theater Amplifier Standard was connected to Krell’s Home Theater
Standard 2 via Better Cable's Balanced Silver Serpent Interconnects and
had the remote power feature activated by the processor’s 12-volt
output.

Listening
Before using the amplifier for its intended purpose as a multi-channel
amplifier, I briefly utilized it in my stereo system in order to
compare it to the KAV-300iL I recently reviewed. I compared the
KAV-300iL, using its internal amplifier, to the KAV-300iL as a
preamplifier, driving the Theater Amplifier Standard. While both units
are rated at 200 watts per channel, the Theater Amplifier Standard
clearly had more gusto to it.

The sonic characteristics of the two amps were very similar. The
Theater Amplifier Standard, with its larger power supplies, seemed to
be ever so slightly more dynamic and more immune to power fluctuations.
The differences in the sonic flavor between the two Krells were slight
and attest to the sonic unity throughout the Krell line.

For
the next level of testing, I called my strongest friend to come over to
help me carry the amplifier into my theater room and began my
multi-channel listening. I started with the movie "Pearl Harbor" (Buena
Vista Home Entertainment), as I had missed the movie in the theaters.
The Krell drove my Martin Logan speakers with enough precision that I
was unable to miss a single over-dramatic line of dialogue or any
nuance of its delivery.

Thankfully, the Krell’s accuracy
is accompanied by vast power reserves, which were called into play for
the attack scene at the end of the first disc. This scene had many
sonically complex moments with multiple explosions, voices, gunshots
and planes sounding off from all directions. Despite the extreme
complexity and commotion, all of the sounds remained clearly distinct.
The various explosions and shots remained distinct, even as they
overlapped one another. While much of this clarity has to be attributed
to the processor and of course the disc itself, the amplifier had
plenty of power for quick and clean transients that kept the sounds
crisp, clear and distinct. Scenes such as bombing raids demand
amplifiers with ample and quick power supplies, which the Theater
Amplifier Standard delivers.

I
then spun up the DVD of "Moulin Rouge" (20th Century Fox Home
Entertainment), which features a more musical soundtrack. The Krell,
while failing to provide the warmth that is sought after by tube
enthusiasts, provides a compelling and involving musical soundstage.
The Krell was accurate and detailed enough to capture nuances missed by
other respected amplifiers. The "Moulin Rouge" soundtrack was rich with
many background details that came through much more clearly with the
Krell than with the McIntosh amplifier I had previously had in my
system.

I
also auditioned some 5.1 music with the Krell, beginning with The
Police’s Every Breath You Take – The Classics (DTS). One of the
harder-hitting cuts on this fairly mellow album is "Don’t Stand So
Close To Me." This track features a powerful bass line, which was
tightly and accurately reproduced by the Krell. The Krell was capable
of great detail, as evidenced by this track and by "King of Pain." My
MartinLogans are very revealing and were able to fully appreciate the
detail provided to them. The intricacies of the bass lines, as well as
the small spatial cues from the surround channels, were clearly
reproduced without sacrifice.

The Downside
The Krell Theater Amplifier Standard shines, literally. The blue power
light is obnoxiously bright. Thankfully, my equipment rack is not
visible from my listening / viewing position. Nonetheless, the light is
bright enough to cast a blue glow in its corner of the room. If the
amplifier’s front panel is to be exposed to the theater room, the light
must be covered. This unfortunately will detract from the amplifier’s
fine aesthetics.

Conclusion
The Theater Amplifier Standard is a welcome addition to the Krell line,
as well as to my theater system. Some may complain that $7,500 is a
strong investment for a five-channel amplifier, but before this
amplifier’s introduction, five channels of Krell would have cost much,
much more. The signature Krell accuracy, wide dynamic range and
spectacular control – especially in the bass -- can be well-utilized in
dynamic theater environs. The sonic characteristics identified in my
earlier review of the KAV-300iL are still evident in the Theater
Amplifier Standard. However, these characteristics lend themselves more
to theater and most multi-channel applications. I found the power and
dynamic capabilities of the Theater Amplifier Standard, coupled with
its precise analytical nature, to be most adept at accurately
portraying complex and dynamic soundtracks.